TCF 112 1st Edition Lecture 8 Outline of Last Lecture I. Biological Structure of Classical Dramatic Narrativea. Actb. Sequencei. Dawn of the Deadc. Scened. Beatsi. The Man Who Shot Liberty ValanceII. Orson Wellesa. Before Citizen Caneb. Experiments with Narrationc. Experiments with Radio and Soundd. Thematic Motif in Welles Worki. Citizen Kanee. Welles Poeticsi. 2-part Interpretive Exerciseii. Sound Montage-3 Techniquesf. Magical Trickeryg. Welles Thematic ConcernsIII. The Production Code (A.K.A Hayes Code)a. Code Under Joseph Breenb. Code Requirementsc. Pre & Code Era Gangstersd. Legacy of Gangster and Crime Filme. Codes Social Ramificationsf. Classical Hollywood StyleThese notes represent a detailed interpretation of the professor’s lecture. GradeBuddy is best used as a supplement to your own notes, not as a substitute.i. Three Categories of CHSii. CHS: Ideological Implicationsg. Genre Studiesi. Evolution of Genreh. The Spaghetti WesternOutline of Current Lecture I. Post-War Hollywood 1946-1967a. HW: Major Dilemmas Post-War IIi. Shrinking audiencesii. Paramount decrees iii. Rise of the televisioniv. Changing populations1. Population migration2. HW’s response v. Cold War Anxieties 1. Edward R. Murrow vs. Senator Joseph McCarthyb. HW’s Solutionsi. Additional SolutionsCurrent LecturePost-War Hollywood 1946-1967:HW: Major Dilemmas Post-War II:- Shrinking audiences1946 100 million/wk1948 90 million/wk1949 70 million/wk1955 46 million/wkToday 23 million/wk- Paramount decreeA.K.A The Paramount CaseAnti-trust caseThe U.S. vs. Paramount Pictures Inc. 1938Effected all studios not just ParamountThe case was delayed until after the warAs a result of the case studios had to break up their vertically integrated industryVertical Integration for HW:-Production-Distribution-ExhibitionStudios kept production and distribution and sold theatersRamifications:-led to rise of the Independent Producer-ended block cooking; led to ind. marketed films-studios began owning theaters again in 1986- Rise of TelevisionEmerged in late 40’s and early 50’sEarly competitor with studios over audiencesBecame new social center for the nuclear familyWithin ten years the studios and TV were working together to get audiences- Changing Populations“Baby Boom” 1946-1964Many started families in post-war periodRemoval of social and economic pressures (war and resource conservation) led tothe boom in U.S. populationo Population MigrationGrowing middle classMove from cities and rural to suburbso HW’s Response 1st drive-in in 1948Suburban multiplex created in 1963Multiplex-2 or more screens- Cold War Anxieties“The bomb”HUAC-House Un-American Activities Committee; 1947, 1951-1952, congressionalgroup that looked into Communist influence in HW and elsewhereAnxieties about nuclear annihilation made its way into popular culture-1950’s Sci-fi genre became platform for expressing the dreads and hopes of the peopleHW blacklist“Hollywood Ten”-group of HW above-the-line talent barred from working in the industryEx. Dr. StrangelovePeter Sellers as Dr. Strangeloveo Edward R. Murrow vs. Senator Joseph McCarthyMurrow know for WWII radio broadcastsSuspicious of TV’s power to inform and function as a social goodMurrow’s TV shows:-Person to Person-celebrity interviews-See It Now-hard news showSee It Now’s “A Report on Senator Joseph McCarthy” in 1954 led to McCarthy’s censure and fall from graceHW’s Solutions:HW responds to crisis:Differentiating its product-discourse and marketing -film=art TV=crass-technological innovationsWidescreen TechniqueCinerama-3 screens, 7 soundtracksCinemascope-anamorphic lens creates a 2.66:1 imageNew aspect ratio- Additional SolutionsNew special effects-Single frame animation-3-D cinemaAmplified production values-Biblical/historical epics (costume dramas)Rise of new formula films-Teenpics and beach movies-Sci-fi alien invasion and monster